The body of the vessel is unpainted with an upper and lower section, and two broad, flat and widely arched handles. The shape is suggestive of sheet-metal work.
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The shape of this jar is referred to as a hill jar and became popular during the Han Dynasty. It is of characteristic shape with a frieze depicting a hunting scene with mythical beasts and gazelles in motion, circling mountains. The jar is held up by three bears. The lid represents swirling peaks on top of mountains with animals.
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Miniature acrobat doing a handstand, with flared hands and arching back and legs. The face is not of a Chinese, but probably that of a Central Asian.
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The saucer is finely potted and entirely covered in a marble patterned glaze of brown and beige, achieved by mixing clays of different color under a clear glaze.
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This dish is decorated with a molded floral pattern. The background is glazed in a milky white color and the floral motif is glazed in amber and green glazes.
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AN HISTORICAL OVERVIEW

by Morris Rossabi

The arts of China yield vivid and appealing insights about its economy, politics, religions, society, history, and culture. They offer a remarkable guide to the development of Chinese civilization. Students can scarcely gain a better introduction to Chinese culture than by examining its works of art. Many Chinese, after all, consider these artifacts as the most exemplary and beautiful products of their civilization. Yet in addition to their beauty, they often reveal a great deal about Chinese values and beliefs. To be sure, each painter or artisan implants his or her individual character and craftsmanship on his or her own creation, but society’s attitudes and ideologies frequently emerge. The artist or craftsman, in turn, contributes his or her own innovations to Chinese civilization. In short, Chinese art reflects but also advances its civilization throughout history.

A PASSIONATE JOURNEY OF COLLECTING CHINESE ART

by France Pepper

William Daghlian’s apartment on West 107th Street in Manhattan resembled a museum that had been kept a secret for a long time. Every corner of the living room, bedroom, and study was covered with Chinese ceramics and sculpture, nestled together with volumes on Chinese art, and interspersed with African carvings. All the shelves in the bathroom and kitchen were also taken over by Chinese ‘pots’. There was just enough room to squeeze a Steinway B Grand piano into the living room, so that Mr. Daghlian could practice, play, teach his private students, and hold his weekly music performance class.